1.5
Table Of Contents
- Color User Manual
- Contents
- Welcome to Color
- Color Correction Basics
- Color Correction Workflows
- An Overview of the Color Workflow
- Limitations in Color
- Video Finishing Workflows Using Final Cut Pro
- Importing Projects from Other Video Editing Applications
- Digital Cinema Workflows Using Apple ProRes 4444
- Finishing Projects Using RED Media
- Digital Intermediate Workflows Using DPX/Cineon Media
- Using EDLs, Timecode, and Frame Numbers to Conform Projects
- Using the Color Interface
- Importing and Managing Projects and Media
- Creating and Opening Projects
- Saving Projects
- Saving and Opening Archives
- Moving Projects from Final Cut Pro to Color
- Before You Export Your Final Cut Pro Project
- Move Clips That Aren’t Being Composited to Track V1 in the Timeline
- Remove Unnecessary Video Filters
- Organize All Color Corrector 3-Way Filters
- Divide Long Projects into Reels
- Export Self-Contained QuickTime Files for Effects Clips You Need to Color Correct
- Use Uncompressed or Lightly Compressed Still Image Formats
- Make Sure All Freeze Frame Effects Are on Track V1
- Make Sure All Clips Have the Same Frame Rate
- Media Manage Your Project, If Necessary
- Recapture Offline Media at Online Quality, If Necessary
- Check All Transitions and Effects If You Plan to Render 2K or 4K Image Sequences for Film Out
- Using the Send To Color Command in Final Cut Pro
- Importing an XML File into Color
- Before You Export Your Final Cut Pro Project
- Importing EDLs
- EDL Import Settings
- Relinking Media
- Importing Media Directly into the Timeline
- Compatible Media Formats
- Moving Projects from Color to Final Cut Pro
- Exporting EDLs
- Reconforming Projects
- Converting Cineon and DPX Image Sequences to QuickTime
- Importing Color Corrections
- Exporting JPEG Images
- Configuring the Setup Room
- The File Browser
- Using the Shots Browser
- The Grades Bin
- The Project Settings Tab
- The Messages Tab
- The User Preferences Tab
- Monitoring Your Project
- Timeline Playback, Navigation, and Editing
- Basic Timeline Elements
- Customizing the Timeline Interface
- Working with Tracks
- Selecting the Current Shot
- Timeline Playback
- Zooming In and Out of the Timeline
- Timeline Navigation
- Selecting Shots in the Timeline
- Working with Grades in the Timeline
- The Settings 1 Tab
- The Settings 2 Tab
- Editing Controls and Procedures
- Analyzing Signals Using the Video Scopes
- The Primary In Room
- The Secondaries Room
- What Is the Secondaries Room Used For?
- Where to Start in the Secondaries Room?
- The Enabled Button in the Secondaries Room
- Choosing a Region to Correct Using the HSL Qualifiers
- Controls in the Previews Tab
- Isolating a Region Using the Vignette Controls
- Adjusting the Inside and Outside of a Secondary Operation
- The Secondary Curves Explained
- Reset Controls in the Secondaries Room
- The Color FX Room
- The Primary Out Room
- Managing Corrections and Grades
- The Difference Between Corrections and Grades
- Saving and Using Corrections and Grades
- Managing Grades in the Timeline
- Using the Copy To Buttons in the Primary Rooms
- Using the Copy Grade and Paste Grade Memory Banks
- Setting a Beauty Grade in the Timeline
- Disabling All Grades
- Managing Grades in the Shots Browser
- Managing a Shot’s Corrections Using Multiple Rooms
- Keyframing
- The Geometry Room
- The Still Store
- The Render Queue
- Appendix A: Calibrating Your Monitor
- Appendix B: Keyboard Shortcuts in Color
- Appendix C: Using Multi-Touch Controls in Color
- Appendix D: Setting Up a Control Surface
Note: You can render your project out of Color using one of several high-quality
mastering codecs, regardless of the codec or level of compression that is used by the
source media. You can use the QuickTime Export Codecs pop-up menu to facilitate a
workflow where you import compressed media into Color and then export the corrected
output as uncompressed media before sending your project to Final Cut Pro. This way,
you reap the benefits of saving hard disk space and avoiding rerendering times up
front, while preserving all the quality of your high–bit depth adjustments when you
render your output media prior to sending your project back to Final Cut Pro. The
codecs most suitable for mastering include Apple Uncompressed 8-bit 4:2:2, Apple
Uncompressed 10-bit 4:2:2, Apple ProRes 422, and Apple ProRes 422 (HQ). For more
information, see Compatible QuickTime Codecs for Output.
Broadcast Safe Settings
When color correcting any program destined for broadcast, it's important to obtain the
specific quality control (QC) guidelines from the broadcaster. There are varying standards
for the maximum and minimum allowed IRE, chroma, and composite amplitude, and
some broadcasters are more conservative than others.
The Broadcast Safe settings let you set up Color to limit the minimum and maximum
luma, chroma, and composite values of shots in your program. These settings are all
completely customizable to accommodate any QC standard and prevent QC violations.
• Broadcast Safe button: Turning on Broadcast Safe enables broadcast legalization for
the entire project, affecting both how it's displayed on your secondary display and
broadcast monitor and how it's rendered for final output. This button turns the following
settings on and off:
• Ceiling IRE: Specifies the maximum luma that's allowable, in analog IRE units. Signals
with luma above this limit will be limited to match this maximum value.
• Floor IRE: Specifies the minimum luma that's allowable, in analog IRE units. Signals
with luma below this limit will be limited to match this minimum value.
• Amplitude: This is not a limiting function. Instead, it lets you apply an adjustment to
the amplitude of the chroma. The default value of 0 results in no change.
133Chapter 5 Configuring the Setup Room